Monday, January 26, 2009

Entropa -- Europe shows it's true colors on Free Speech

http://www.lexpress.fr/medias/190/entropa-9-belgium-entertainment-eu-art-czech_255.jpg



It is amazing -- Europe shows it's true colors when a work of art offends other Europeans. There is not a peep about freedom of speech and the artist's independence. The Czech government, first time holder of the EU presidency buckles under pressure, makes the Artist pay back the money he was paid, and pledge not to demand any payment for the six months that Entropa is on lease to the Czech Government.


Entropa, partly covered by a sheet

And Yes, it ordered the Bulgarian section of the work be covered with black cloth last Wednesday. In the process Czech Government managed to turn the event that was to celebrate Europe and it's newest members, into a commemoration of Stalinism. Just a look at the countries who demanded that the art piece be taken down, or in the case Bulgaria, she demanded (and had that demand met) that the part of the work depicting Bulgaria be covered by cloth. it seems that that the very countries who have most to celebrate for their freedom of speech, are the ones opposing it. Perhaps fascism can be eradicated from the political life of a country rather quickly, but to have it removed from people's hearts and minds is apparently more difficult.

A close-up of the part of the Entropa installation depicting Poland





In the meantime it looks as if David Černý has pulled off what he had intended -- by demonstrating the prejudices and stereotypes, he has helped bring them to light -- very nice indeed.



P.s. As a non-European can someone explain some of the jokes to me? Why is (Slovakia wrapped as a Salami in Hungary's Tri-Color) funny or offensive? Elephants and Hypos in Finland? Are there really that many gay monks in Poland?











Saturday, January 24, 2009

The End of Solitude

The Chronicle of Higher Education
The Chronicle Review
As everyone seeks more and broader connectivity, the still, small voice speaks only in silence

By WILLIAM DERESIEWICZ

What does the contemporary self want? The camera has created a culture of celebrity; the computer is creating a culture of connectivity. As the two technologies converge — broadband tipping the Web from text to image, social-networking sites spreading the mesh of interconnection ever wider — the two cultures betray a common impulse. Celebrity and connectivity are both ways of becoming known. This is what the contemporary self wants. It wants to be recognized, wants to be connected: It wants to be visible. If not to the millions, on Survivor or Oprah, then to the hundreds, on Twitter or Facebook. This is the quality that validates us, this is how we become real to ourselves — by being seen by others. The great contemporary terror is anonymity. If Lionel Trilling was right, if the property that grounded the self, in Romanticism, was sincerity, and in modernism it was authenticity, then in postmodernism it is visibility.

So we live exclusively in relation to others, and what disappears from our lives is solitude. Technology is taking away our privacy and our concentration, but it is also taking away our ability to be alone. Though I shouldn't ..........

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Wednesday, January 14, 2009

Who Does She Think She Is?

Scott Brown Leads a Guided Tour of the Most Awesome Depression Ever

"I sink into a trashed Aeron chair, pull out my trusty ax, and click out "In the Great Big Google Mountain," a rueful utopian ditty about a fanciful wonderworld in which "aquacultured catfish feed the masses," and "electric cars cut greenhouses gasses," and "more transparent global markets function semi-rational-la-la-la-ly." The song brings tears to my eyes. Sure, it could be from drinking far too much bathtub Red Bull. Or maybe I'm weeping because this guitar is just so awesomely depressing to play when it's not actually hooked up to an Xbox."


By Scott Brown Email 12.22.08

Illustration: Julian Pablo Manzelli

Another Great Depression! Hardly are those words out when vast images straight out of Walker Evans trouble my sight: Hoboes! Okies! Hoovervilles! Women who resemble Harry Dean Stanton! It's all so very... 75 years ago. Our go-to icons of abject, debilitating American poverty are so nostalgic, so sentimental, so analog. Our recurrent national nightmare deserves an upgrade. Let's face it: Flat broke and rattling a mug full of pencils, we'll still be the same wiki-addicted, diversion-craving exhibitionists we are now. Of course, I'm no futurist. Just a hysteria-prone pessimist. But I don't want to live through another Great Depression. I want to experience the Awesome Depression: classic destitution with a whole new interface. I believe the Children of the Petabyte are perfectly capable of reviving classic Depression-era pastimes—train-hopping, bread-lining—while making them uniquely our own. So climb aboard as I, your neo-hobo guide, unfold a day in the life of the future unfortunate.

It's a typical morning in 2011: I start my day by bumming a few joules off a pal's bicycle generator to power up my BlackBerry and surf over to FoodTube, where starving viewers like myself salivate over clips of the "carbo-rati" noshing on hoarded snacks. (I try not to read the comments: "omg she is such a ho for eating that Combo!" "shup azz! u go girl! eat dat Combo!") One stray click and I'm rickrolled, prankishly diverted to the now-familiar footage of Rick Astley being devoured by a pack of London cannibals.

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Battles -- Atlas



Sunday, January 11, 2009

From Rembrandt to Vermeer Civic values in Dutch and Flemish paintings of the 1600s

Da Rembrandt a Vermeer
Da Rembrandt a Vermeer

Valori civili nella pittura fiamminga e olandese del '600

Fondazione Roma Museo, Roma

11 Novembre 2008 - 15 Febbraio 2009

re.act.feminism – performance art of the 1960s and 70s today




Kate Gilmore: Star Bright, Star Might,  2007, Video Still, Courtesy of the Artist and Smith-Stewart Gallery

Esther Ferrer: Intimo y Personal, 1998 © Esther Ferrer

Verena Kyselka: Nachrichtensprecherin, Performance Stadtraum Erfurt, 1990, Photo: Bernd Hiepe

Antonia Baehr: Lachen, 2008, Photo: Julie Pagnier © Antonia Baehr

Ewa Partum: Poem by Ewa, 1971 © Ewa Partum / VG Bild-Kunst, Bonn 2008

exhibition, video archive, live performances and conference


13. Dezember 2008 – 8. Februar 2009

Akademie der Künste
Hanseatenweg 10, 10557 Berlin


A project by cross links e.V., curated by Bettina Knaup and Beatrice E. Stammer, produced in partnership with Akademie der Künste, Berlin, supported by Hauptstadtkulturfonds, Schering Stiftung and Bundeszentrale für politische Bildung.
info@artberlin-online.de, Web: http://www.artberlin-online.de/

Abbildungen:
Kate Gilmore
: Star Bright, Star Might, 2007, Video Still, Courtesy of the Artist and Smith-Stewart Gallery
Esther Ferrer: Intimo y Personal, 1998 © Esther Ferrer
Verena Kyselka: Nachrichtensprecherin, Performance Stadtraum Erfurt, 1990, Photo: Bernd Hiepe
Antonia Baehr: Lachen, 2008, Photo: Julie Pagnier © Antonia Baehr
Ewa Partum: Poem by Ewa, 1971 © Ewa Partum / VG Bild-Kunst, Bonn 2008

Performance art emerging in the 1960s and 70s was infused with ideas of social emancipation and fundamentally influenced by women artists interested in feminism. Performance art explored the intersection of art and life, of private and public. It offered an ideal medium for examining, deconstructing or reinventing (female) identity moving beyond attributions of femininity in mainstream culture. Moreover, as a new art form, occurring outside the confines of the traditional art space, performance was a medium for collective and social intervention in the public sphere.
re.act.feminism provides an exemplary overview of gender-critical performance art and investigates its resonances in current artistic productions in the form of re-enactments, re-appropriations, new formulations or documentary and archival projects.

Ausstellung
Videoarchiv
Live-Performances und Tagung
Veranstaltungen im Überblick
Projektteam
Presse
Partner
Danksagung

visit the site




Wednesday, January 7, 2009

Monday, January 5, 2009

O Joy O Rapture, we survived

2009 is here and we are a mere 15 days from having survived the most dangerous calamity of recent memory. It is time for closure as we have much to do and to repair. In this article, Tom, palpably excited and relieved for having survived the same, puts it away so we can start the year and hopefully the rest of this planet's life without wasting anymore time on George W. Bush's presidency. Here is to a year that despite being probably one of the toughest on our planet since the 1930's -- will also be most certainly better than the year that came before it.


The Ponzi Scheme Presidency

Bush's Legacy of Destruction
By Tom Engelhardt

It may finally be 2009, but in some ways, given these last years, it might as well be 800 BCE.

From the ninth to the seventh centuries BCE, the palace walls of the kings who ruled the Assyrian Empire were decorated with vast stone friezes, filled with enough dead bodies to sate any video-game maker and often depicting -- in almost comic strip-style -- various bloody royal victories and conquests. At least one of them shows Assyrian soldiers lopping off the heads of defeated enemies and piling them into pyramids for an early version of what, in the VCE (Vietnam Common Era) of the 1960s, Americans came to know as the "body count."

So I learned recently by wandering through a traveling exhibit of ancient Assyrian art from the British Museum. On the audio tour accompanying the show, one expert pointed out that Assyrian scribes, part of an impressive imperial bureaucracy, carefully counted those heads and recorded the numbers for the greater glory of the king (as, in earlier centuries, Egyptian scribes had recorded counts of severed hands for victorious Pharaohs).

Hand it to art museums. Is there anything stranger than wandering through one and locking eyes with a Vermeer lady, a Van Eyck portrait, or one of Rembrandt's burghers staring out at you across the centuries? What a reminder of the common humanity we share with the distant past. In a darker sense, it's no less a reminder of our kinship across time to spot a little pyramid of heads on a frieze, imagine an Assyrian scribe making his count, and -- eerily enough -- feel at home. What a measure of just how few miles "the march of civilization" (as my parents' generation once called it) has actually covered.

Prejudiced Toward War

If you need an epitaph for the Bush administration, here's one to test out: They tried. They really tried. But they couldn't help it. They just had to count.

In a sense, George W. Bush did the Assyrians proud. With his secret prisons, his outsourced torture chambers, his officially approved kidnappings, the murders committed by his interrogators, the massacres committed by his troops and mercenaries, and the shock.........

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City Trees

Ring Out, Wild Bells

Ring out, wild bells, to the wild sky,
The flying cloud, the frosty light:
The year is dying in the night;
Ring out, wild bells, and let him die.

Ring out the old, ring in the new,
Ring, happy bells, across the snow:
The year is going, let him go;
Ring out the false, ring in the true.

Ring out the grief that saps the mind,
For those that here we see no more;
Ring out the feud of rich and poor,
Ring in redress to all mankind.

Ring out a slowly dying cause,
And ancient forms of party strife;
Ring in the nobler modes of life,
With sweeter manners, purer laws.

Ring out the want, the care, the sin,
The faithless coldness of the times;
Ring out, ring out my mournful rhymes,
But ring the fuller minstrel in.

Ring out false pride in place and blood,
The civic slander and the spite;
Ring in the love of truth and right,
Ring in the common love of good.

Ring out old shapes of foul disease;
Ring out the narrowing lust of gold;
Ring out the thousand wars of old,
Ring in the thousand years of peace.

Ring in the valiant man and free,
The larger heart, the kindlier hand;
Ring out the darkness of the land,
Ring in the Christ that is to be


-- Alfred Lord Tennyson